"This is referenced in my song 'I'm An Outlaw': "...an outlaw, burned from vinyl, dimed from cans, peaked to the dome". And that's some crazy, psychedelic, synth-y, weird funk. No offence to Miles, you know, unfortunately he's not with us, but fortunately he's not, because he's the weakest link on that record. At first he's awesome, and then some of his tone, it goes down south once in a while, but all the players, like John McLaughlin and the synth players, and if you listen to the record, especially in headphones, it's all - my theory is - going through modular synthesisers, all the percussion is going through envelope filters, but it's also panning non-stop. If you listen, it's unreal. If you crank it in headphones, it's full speed ahead!"

"Interrupted by the arrival of the talkies, the oeuvre of Victor Sjöström remains one of the summits of silent cinema. Even if we no longer pay too close attention to The Wind, despite it having been regarded for so long as one of the masterpieces of film history; as also the lesser known The Phantom Carriage, despite it having been a foundational inspiration to Ingmar Bergman, who watched it ritually every year; and even if he is most often remembered for his role in Wild Strawberries; Victor Sjöström is the auteur of a visionary and profound body of work, that makes him equal to his great contemporaries Dreyer and Murnau. For my part, it is The Outlaw and His Wife, inspired by the true story of an 18th-century Icelandic outlaw played in the film by Sjöström himself, which has left the most indelible mark on me."

"Published just before he died of AIDS, Wojnarowicz’s memoir is a classic of outlaw literature and political fury. Wojnarowicz — who was a great artist as well as writer — wheels through his wickedly difficult childhood, the deaths of friends and lovers, great sex writing, thoughts about art, screeds against the likes of Jesse Helms, all the while facing down his own imminent demise. It’s sad, funny, angry and transporting, a kaleidoscope on fire."